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LANDSCAPE ART 
PAST AND PRESENT 


LANDSCAPE ART 


PAST AND PRESENT 


HARRIET HAMMOND McCORMICK 


CHARLES SCRIBNER’S SONS 
NEW YORK - LONDON 
MCMXXIII 


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COPYRIGHT, 1923, BY f 
CHARLES SCRIBNER’S SONS 


Printed in the United States of America 


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FOREWORD 


“Landscape Art, Past and Present,” was written 
by Mrs. McCormick for a meeting of the Friday 
Club of Chicago in February, 1899. It was again 
read at the annual meeting of the American Park 
and Outdoor Art Association held in Chicago in 
June, 1900, and was later printed by the Associa- 
tion in pamphlet form for further distribution. 
It is republished now in a desire to commemorate 
Mrs. McCormick’s deep love of nature, and her 
rare appreciation of beauty in landscape and in 
gardens. To the illustrations that were originally 
used there have been added certain reproduc- 
tions of ancient and modern landscapes; and a 
number of pictures of Walden, our home at Lake 
Forest, have been included to illustrate the way 
in which the underlying principles discussed in 
this paper were applied in its development. 

In publishing this volume, we have had the in- 
valuable assistance of many of our friends. My sons 
and I wish to make grateful acknowledgment to 


V 


FOREWORD 


Mr. Warren H. Manning, under whose sympathetic 
guidance Walden has been developed, for his co- 
operation in collecting the illustrations and in 
planning many of the details; to Mrs. Francis King, 
our friend of many years, whose delightful writings 
on gardening make her introduction especially 
significant; to Mr. George Henry High, one of 
the country’s foremost amateur photographers, 
for his friendly interest and untiring effort in 
making many of the photographs of Walden; 
and to the Art Institute of Chicago, the Boston 
Art Museum, Country Life in England, the Na- 
tional Geographic Magazine, Mr. S. S. Beman, 
Mr. Joseph Hawley Chapin, Mr. John Gee Curley, 
Mr. Charles Sumner Greene, Mr. Elmer Grey, 
Mr. Charles Z. Klauder, Mr. Thomas H. Maw- 
son, Mr. Charles A. Platt, Professor C. S. Sargent, 
Mr. Thomas Seyster, and Mr. Raymond W. 
Trowbridge, for their generous help with the 


illustrations. 


Cyrus H. McCormick 


WALDEN 
March, 1923 


vl 


LIST OF 
ILLUSTRATIONS 


ILLUSTRATIONS 


Hanging Gardens of Babylon 

Temple gardens, Edfu, Egypt 

Garden of “ Resht-i-Behesht,”’ Shiraz, Persia 

Greek garden 

Villa of Pliny the Younger, Laurentium 

Gardens of the Villa Lante, Bagnaia 

Isola Bella, Lake Maggiore 

Gardens of the Villa Albani, Rome 

Fountain at the Villa Castello, Florence 

Basin of Latona, Versailles 

Gardens of Versailles 

House of Willem van Son, Doornburg 

Wimple in the seventeenth century, Cambridgeshire 

Thoresby House, Nottinghamshire 

Old Garden in the Glen, Dalzell House, Lanarkshire 

An urn 

Vegetable sculpture 

Pope’s garden, Twickenham 

Harleston Park, Northamptonshire — Design by 
Repton 

Suburban house, Chicago 

New England estate, Brookline, Massachusetts 

Pacific Coast dwelling, Carmel Highlands, California 

Wild garden grasses, York Harbor, Maine 


1X 


XX 
XXI 


ILLUSTRATIONS 


A Monterey cypress, California 
Villagers Dancing: Claude Lorraine 
Landscape: Salvator Rosa 
Walden — 

Woods: 1895-1921 

Bluff: 1895-1922 

Homestead elm 

“Ravello” 

Approach to the stone steps 

Stone steps 

In the ravine 

Pergola 

South vista 

Woodland road from the bridge 

«Fountain of the Athletes”’ 
Carruth Cottage, Lake Forest, Illinois 
Walden — 

Birch outlook at dawn 

Birch outlook mid-afternoon 

Ravine—in spring 

Ravine—in summer 

Ravine—in winter 

The house: 1900-1921 

Entrance drive 

Ravine drive 

Approach to the house: 1896 - 1900 

House from the east lawn: 1896 - 1921 

House from the west vista 


Kitchen garden 


Plate 
XXII 
XXIII 
XXIV 


XXV 
XXVI 
XXVII 


XXVIII - 


XXIX 
Xxx 
AKT 
XXXII 
XXXIII 
XXXIV 
XXXV 
XXXVI 


XXXVII 
XXXVIII 
XXXIX 
XL 


XLVI 
XLVII 
XLVIII 


ILLUSTRATIONS 


Riven Rock, Montecito, California 
Walden — 
Lake view from the “ Ravello 
Beach 
Evergreen vista 
Central Park, New York 
Kew Gardens, London 


+) 


Lincoln Park, Chicago 
Public playground, Chicago 
One of the Forest Preserves, Chicago 


XI 


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INTRODUCTION 


“ Landscape Art, Past and Present,’ was written 
at a time when the general public of America was 
hardly awake to landscape architecture, the French 
name for the art, first adopted by Olmsted and Vaux 
in 1862. Mrs. Schuyler Van Rensselaer in 1893 in 
«Art Out of Doors” proclaimed the beauty of the 
principles of landscape architecture as shown in 
the work of Olmsted, compared our methods with 
those of England and France, warned us against _ 
overdone or bizarre effects, urged the importance 
of design, and, in general, showed forth the princi- 
ples of good taste in landscape architecture, or land- 
scape gardening as the profession was then known. 

Central Park, so glorious thirty years ago in 
naturalistic beauty, had place as an example of all 
that was fine in the way of landscape designing for 
public uses. But the fine estates around Boston, 
New York, and Philadelphia might easily have 
_ been counted and named; while the art of mak- 
ing beautiful the home-grounds, to use Mrs. Van 


x11 


INTRODUCTION 


Rensselaer’s term, had hardly developed at all in 
other parts of the country during the last half of the 
nineteenth century. Parmentier’s landscape work, 
carried on from his small nursery in Brooklyn, and 
Downing’s great book, often quoted in “ Land- 
scape Art, Past and Present,” as well as his creative 
work on public and private properties, gave the 
first general impetus to the practice of landscape 
gardening in this country. The work of Downing 
was more naturalistic than formal. His knowledge 
of trees was unique. And his legitimate successor — 
in the art was the elder Olmsted, who with Calvert 
Vaux planned Central Park, New York, the fore- 
runner of every other public park in the United 
States. 

In 1893, when “Art Out of Doors” was pub- 
lished, there were dangers, some of which are ever- 
present. Landscape architects “may be permitted 
to lay out a park or a country place as they wish, 
but when once their backs are turned, how quick 
is park commissioner or owner to retouch and 
spoil.” There were also minor dangers, such as the 
bed of coleus, the weeping willow tree; “bits of 
grass splashed with chromo-like flower beds, and 


XIV 


¢ 


INTRODUCTION 


speckled with exotic plants” roused an indignant 
pen. Yet 1893 was the year of the World’s Fair 
at Chicago, that starting point of civic beauty in 
America, that “real stimulus to the revival of 
Civic Artin this country.” 

Many important changes have come in the gen- 
eral development of the profession of landscape 
architecture since “Art Out of Doors” appeared 
as a bulwark against national ugliness, since the 
eventful time of the Chicago Exposition, since 
“Landscape Art, Past and Present,” was written. 
Among such changes none is more significant than 
the formation and growth of various national and 
other societies devoting themselves to landscape 
architecture and allied subjects. And of these 
the most important is the American Society of 
Landscape Architects. The many horticultural so- 
cieties, the tremendous growth in the number of 
garden clubs in the country under the leadership 
of the Garden Club of America, all bear witness to 
a great movement toward the desire to grow and 
cultivate plants, and such a directing body as the 
Society of Landscape Architects is of inestimable 


value. 


XV 


INTRODUCTION 


The gradual development of landscape archi- 
tecture in America is shown too in such move- 
ments as city planning; in park and playground 
development; in garden-suburb planning; in the 
planning and planting of exposition grounds; in 
the “layouts” for war-workers’ towns; in the very 
great increase in public appreciation of landscape 
architecture through these influences; and, in con- 
sequence, an ever-growing application of the art 
to private properties, both large and small. Much 
attention has also been given to planting about 
farm houses and in rural communities. This ap- 
preciation has caused many men and women to 
enter the profession. 

Another mark of the unfolding desire for the 
study of landscape architecture in America was the 
establishment in 1920 of a National Conference 
on Instruction in Landscape Architecture. Pro- 
fessional courses of instruction in the art nownum- 
ber about twenty. Headed by the important ones 
of Harvard and Cornell, they are found in practic- 
ally all of the leading universities. Three of these 
admit women. The Cambridge School of Domestic 


and Landscape Architecture has been established 


Xvl 


INTRODUCTION 


for a number of years, and has as many women 
students as there are men students in the Harvard 
School. The only institution for women, devoting 
itself entirely to the art, however, is Lowthorpe 
School at Groton, Massachusetts. 

The art of landscape architecture, starting with 
Downing’s naturalistic ideas, has passed through 
various stages in America; in type of composition, 
of design, whether naturalistic or formal, simple or 
impressive; in the materials used; in the idea of 
foliage-color and ornament. The important in- 
crease in the number and beauty of large estates in 
the last twenty-five years, due in part to the auto- 
mobile, and in part to the general increase in wealth, 
does honor to owner and landscape architect alike; 
and the present strong movement toward securing 
beauty in the small garden is a sure sign of a wider 
recognition of the value of landscape design. It is 
also a movement toward social democracy, there- 
fore one of the happiest present-day results of the 
work of the profession in this country. From the 
individual desire for beauty about one’s dwelling- 
place must come not only content, happiness, per- 
manence in family life, but some understanding of 


xvll 


INTRODUCTION 


the principles of the art of expression in planting, 
with a consequent favorable effect upon large proj- 
ects everywhere. 

Many heartening signs there are today of the 
march of landscape architecture toward its high 
goal. In the Chicago region, for example, take the 
parks along the shores of Lake Michigan. Where 
fifty years ago there was nothing to build upon but 
a sand bar, today “one thinks of Daubigny and of 
Corot.” The city boulevards bordering the lake, 
according to the great Plan of Chicago, are exam- 
ples of this change; so are the terraces and planted 
bluffs throughout the northern suburbs; so too 
those beautiful estates such as the one in whose 
creation it was the constant pleasure of the writer 
of “Landscape Art, Past and Present,’ to take her 
part. 

“Walden” may be said to stand as one of the 
best examples of a thoroughly American develop- 
ment. The charming, intimate house, with its 
stretches of greensward east to Lake Michigan and 
north and south into woodland, is the center of 
some hundred and twenty acres varied in topog- 
raphy and natural forest growth; a tract which 


Xvill 


INTRODUCTION 


has been treated by the landscape designer, Mr. 
Warren H. Manning, with the utmost skill, taste, 
and sympathy, and always with the eager interest 
and co-operation of the owners. Many have been 
the discussions between the mistress of Walden and 
the landscape designer. «The beauty of Walden,” 
writes the latter, “I conceive to be due in large part 
to her constructive thought. Her comprehensive 
knowledge of fundamentals enabled her to consider 
every plan carefully and to present her point of 
view with force as well as with tact. She was con- 
sistently against any suggestion that might make 
the home pretentious, and always desirous of main- 
taining its simple, homelike character.” 

The outstanding natural landscape feature of 
Walden is the beautiful ravine, but only second in 
importance are the charming vistas which have been 
developed there. The evergreen vista running west 
from the house is one of these, with birches as its 
distant terminal object, their white stems giving the 
gleam of a small classic temple. The fine use of the 
birch is a characteristic of Walden. To a picturesque 
terrace and arbor, high above Lake Michigan, pat- 


terned after and named for a feature ofa garden at 


X1X 


INTRODUCTION 


Ravello, there is a gateway of birches, approached 

through a magnificent vista of oaks and other orig- 
inal forest growth, crossed from dawn to dark by a 
network of tree shadows. A third vista stretches 
northeast from house to lake; here birches in groups 
give light and character to the tree masses and form a 
brilliant frame for the blue water beyond. The steep 
bluff itself is no longer a clay cliff, but a well-stayed 
bank of rich foliage, down which, by easy stages, 
runs a delightful stone walk bordered by evergreens, 
merging at the base into a rock garden. 

The most striking feature of Walden, however, 
is the ravine. This presents, at every turn of the 
road,a fresh picture of woodland beauty; a beauty 
constantly enhanced by planting and cutting 
which have been thought out with affectionate in- 
terest. Well might the mistress of Walden charac- 
terize this lovely ravine, as once she did to Mr. 
Manning, as “a living picture gallery.” 

The whole impression of Walden is of a place 
where life may be carried on happily, agreeably, 
hospitably, profitably. Walden has individuality 
without oddity; distinction without affectation; — 
above all it has that inviting quality which means 


XX 


INTRODUCTION 


a home; through beauty it speaks serenity, tran- 
quillity, peace. 

My own last visit to Walden was on a still De- 
cember day; no snow, warm spring-like sun; and 
as we walked in the ravine and climbed the path 
beside the rock garden, the radiant presence of her to 
whose unflagging interest and care so much of this 
beauty was due seemed to be with me. We reached 
the pretty octagonal tea-house in the pergola. I 
saw again that gay assemblage of the Council. of 
Presidents of the Garden Club of America seated 
there discussing gardens and gardening. I saw on 
the verandas and terraces the bright company of 
women on that same June day at luncheon, the 
hostess all eager happiness in our presence there. 
Again I saw on a spring day of 1913, when the 
Garden Club of America had its beginning at a 
meeting in Germantown, Philadelphia, that same 
charming presence; I heard that voice urging that 
the name to be chosen for the society should con- 
vey a degree of charm, that first quality of gardens. 
For into the plan of the Garden Club of America, 
of which she was one of the founders, the mistress 
of Walden threw herself with a bright enthusiasm. 


XX1 


INTRODUCTION 


Gardening as a fine art she believed in and encour- 
aged; and Walden stands today in its calm beauty 
a token of this belief, of this delight in gardens. 


«And yet,” to quote from the writings of 
«FE, V. B.,” “other gardens there are, like none of 
these. They are no Adonis Gardens, whose flowers 
quickly bloom and quickly die. They are not laid 
out for pastime, nor for our joy in hours of idleness. 
The flower beds are narrow and often the best bloom 
of them is withered. But the flowers are not for de- 
light; they are all for remembrance. Tears have 
watered them: Love bound the amaranth in each 
faded wreath. To most of us it may be that some 
small spot in the Garden of the Lordis dearer than 
the finest pleasure garden, for here we lent to the 
Heavenly Husbandman the light of our eyes, the 
flower of our lives. The beautiful feeling that 
would make into a garden the place where the dead 
rest, is well-nigh universal. Many a little country 
churchyard, far and near, even to the remote corners 
of our land, has its well-kept borders and is weekly 
drest and bright with fresh flowers. And this is as it" 
should be. For Pride or any other reason, the cost- 


XX11 


INTRODUCTION 


liest monument is raised; but only Love will plant 
roses about the tomb, or weave for it the crown of 
lilies; itis Love only that will lay a ower upon the 


green mound.” 


Into—and through—such a garden as this has 
now passed the dear writer of the following pages. 
While she lived by her example and interest she 
helped to open the gate to beauty—that postern 
whose dim outline is only now emerging to Amer- 


ica’s lifted eyes. 


Louisa YEOMANS KING 


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LANDSCAPE ART 
PAST AND PRESENT 


af 


LANDSCAPE ART 
PAST AND PRESENT 


HE earliest accounts we have of gardens are 
A Pe recorded in holy writ. Their antiquity, 
therefore, appears coeval with that of the earli- 
est tradition. The Garden of Eden had every tree 
good for food or pleasant to the sight, and Noah 
planted a vineyard. Solomon, with a true spirit of 
horticultural zeal, says: «I planted me vineyards; 
I made me gardens and orchards, and I planted 
trees in them ofall kinds of fruit.’’ We have all heard 
of the grandeur of Nebuchadnezzar’s Gardens, 
known as the Great Hanging Gardens of Babylon, 
the most conspicuous example of this art among the 
ancients. They were composed of a series of terraces 
supported by stone pillars, rising one above the 
other, three hundred feet in height, and planted 
with rows of all manner of stately trees, shrubs, 


and flowers, interspersed with seats, and watered 


and supplied with fountains from the Euphrates. © 


3 


Plate 


Plate 
IT 


Plate 
Tt 


Plate 
ree 


LANDSCAPE ART 


All this was, indeed, the effort of the great king to 
recall to his Median queen the beauties of her na- 
tive country. The Egyptians and Persians and 
other remote nations also prided themselves on 
their magnificent gardens. 

The Athenians borrowed their forms in gardens 
from Persia, and their most celebrated philosophers 
made the sylvan or landscape gardens of their time 
their favorite schools. The gardens of Epicurus 
and Plato appear to have been symmetrical groves 
of olive, plane, and elm, adorned with elegant stat- 
ues, Monuments, and temples, the beauty of which 
for their particular purpose has never been sur- 
passed by any examples of modern times. The villa 
grounds of the Emperors Nero and Hadrian were 
enriched with everything magnificent and pleasing, 
and the classically famous villas of Cicero at Ar- 
pinum and of Pliny at Laurentium are among the 
most celebrated specimens of the taste of the an- 
cients. 

The Italians among modern continental nations 
have been the most successful in their ornamental 
grounds. The supply of beautiful marbles seems to” 


have been too great to be confined even to the 


4 


PAST AND PRESENT 


colonnades of their villas, trees and plants being 
often less abundant than the sculptural ornaments 
which they served to set off to advantage. Isola 
Bella, in Lake Maggiore, has often been quoted as 
the most highly wrought type of Italian taste. The 
Borghese and Albani Villas at Rome are among the 
most celebrated examples of the later Renaissance 
period in Italy. The pleasure grounds of the Villa 
Borghese alone are three miles in circumference, 
filled with symmetrical walks and abounding with 
an.endless profusion of sculptures. 

The old French gardens differ little from those 
of Italy except that they seem to have more theat- 
rical display, frequently substituting for the exqui- 
site marble balustrades and sculptural ornaments 
of the Italians gilt trellises and wooden statues. The 
crowning glory of the so-called geometric styles 
were the gardens of Louis XIV at Versailles. How 
could this prince have failed to produce a scene of 
great splendor when his idea of a royal garden was 
not compassed under two hundred acres devoted 
to that purpose, and who, when shown the bills of 
cost amounting to two hundred million dollars, 


quietly threw them into the fire? His gardener, 
5 


Plate 


LANDSCAPE ART 


the celebrated André Le Notre, whose ideas were 
scarcely less profuse than those of his master, re- 
ceived honor of knighthood and was made general 
director of all the buildings and gardens of the 
period. In the garden of Versailles there is more 
of promenade, less of parterre, more of gravel 
than turf, and more of the deciduous than of the 
evergreen tree. Practical water-wit, the practice of 
drenching the spectators, was a favorite diversion 
in the old French gardens. This custom, which once 
filled so large a space in the attractions of their 
show places, seems to militate a little against their 
national repute for gallantry. The very fact that 
everything was done to surprise the spectator shows 
how different was their idea of a garden from that 
of the Englishman who looks to his garden for home 
and family pleasure. 

The formality of the French gardens was more 
or less copied at the time in other parts of Europe, 
but in copying every nation seems to have mingled 
with this grand style some elementary notions of 
its own, expressive of national character or local con- 
dition. The most marked imitators were the Dutch, 
whose style of ornamental garden seems neverthe- 


6 


PAST AND PRESENT 


less sufficiently distinctive to be worthy of consider- 
ation as a separate school. But howshall we charac- 
terize this Dutch school, this double compound 
of labored symmetry and stiffness, which seems to 
afford the quiet Dutchman so much pleasure? A 
stagnant and muddy canal, a bridge thrown over 
it, a circular fish-pond, a grass slope, a mound 
of green turf with gilt ornaments, clipped trees, 
and every variety of trellis-work bright with green 
paint; in the foreground beds of gay tulips and 
florists’ flowers, interspersed with orange trees in 
tubs; and in the distance smooth green meadows. 
Such is the invariable picture of the Hollander’s 
garden, which he regards chiefly as a place in which 
to smoke. One loyal Dutchman even went so far 
as to decorate his lawn with a shepherd, a flock of 
sheep, and a dog, all cut in stone and always look- 
ing pastoral and country-like. 

The ornamental gardens of England, during 
the reigns of Elizabeth, James, and Charles, were 
in the same courtly and formal taste as those of 
the Italians and the French. Always fonder than 
any other people of great landed estates, their 


parks, even in the days of the Henrys, were grand 


7 


Plate 
XI 


Plate 
CLE 


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Pea; 


Plate 
XIV 


LANDSCAPE ART 


wooded surfaces, full of wild sylvan beauty; but 
the part considered as the ornamental grounds was 
always laid out in avenues, labyrinthian parterres, 
and knotted gardens. Charles II, startled like the 
rest of Europe with the fame of Versailles, com- 
missioned Le Notre to plant Kensington Gardens, 
and St. James and Greenwich Parks in London, 
and inspired some of the nobility with a taste for 
the more splendid formalities of the French school 
of design. 

Vegetable sculpture, and all the accompani- 
ments of the Dutch taste, were introduced in the 
time of King William, and they had their hey-day 
of fashion. We may obtain a good idea of the sub- 
jects most in vogue by the following extract from 
Pope’s keen satire, written as late as 1713, when 
these Dutch gardens were beginning to fall into 
disrepute: 

“INVENTORY OF A VIRTUOSO GARDENER. Adam and 
Eve in yew; Adam a little shattered by the fall of 
the Tree of Knowledge in the great storm; Eve and 
the Serpent very flourishing. Noah’s Ark in holly, 
the ribs a little damaged for want of water. The 
Tower of Babel not yet finished. St. George in 

8 


PAST AND PRESENT 


box; his arm scarce long enough, but will be in 
condition to stick the Dragon by next April. Ed- 
ward the Black Prince in cypress. A pair of Giants, 
stunted, to be sold cheap. An old Maid of Honour 
in wormwood. A topping Ben Jonson in laurel. 
Divers eminent modern Poets in bays, somewhat 
blighted. A quick-set Hog, shot up into a Porcu- 
pine by being forgot a week in rainy weather.” 
Whatever may have been the absurdities of the 
ancient style, it is not to be denied that in connec- 
tion with highly decorative architecture its effect, 
when in the best taste, as in the Italian, is not only 
splendid and striking, but highly suitable and ap- 
propriate. Sir Walter Scott in an essay on “Land- 
scape Gardening” says: “The distinction between 
the Italian and the Dutch is obvious. A stone hewn 
into a gracefully ornamented vase or urn has a value 
which it did not before possess; a yew hedge clipped 
into a fortification is only defaced. The urn is a pro- 
duction of art, the other a distortion of nature.” 
Down to the time of Addison, in the beginning 
of the eighteenth century, the formal style reigned 
triumphant. The gardener, the architect, and the 


sculptor had a complete mastery of its arrange- 


9 


Plate 
XV 


Plate 
XVI 


LANDSCAPE ART 


ments, and it is worthy of more than a passing 
remark that when the change did take place it 
emanated from the poet, the painter, and the 
scholar, rather than from the practical man. In the 
poetical imagination the ideal type of the modern 
landscape garden seems always to have been more 
or less shadowed forth. The Vaucluse of Petrarch, 
Tasso’s gardens of Armida, and the Vale of Tempe 
of Ailian are exquisite conceptions of the modern 
style. Milton, surrounded as he was by the splen- 
did formalities of the gardens of his time, copied 
from no existing models, but, feeling that Eden 
must have been free and majestic in its outlines, 
drew from his inner sense of the beautiful, and 
from nature as he saw her developed in the works 
of the Creator. 

In 1712 appeared Addison’s papers on “Im- 


> 


agination,” considered with reference to works 
of nature and art, in which he lifted the veil be- 
tween the formal garden and natural charms, and 
showed how soon the imagination wearied with the 
stiffness of the styles then existing, and how much 
grace and joy might be caught from the freer imi-_ 
tation of the swelling wood and hill. The next year, 


IO 


PAST AND PRESENT 


Pope, who was both a poet and a painter, opened 
his quiver of satire. He was himself a refined ama- 
teur, and his garden at Twickenham became a 
celebrated miniature type of the natural school. 
Gradually a change of the popular feeling was 
created. Improvement was the fashion of the time. 

On the Continent, especially in France, al- 
though old-fashioned gardens were not demol- 
ished, as in England, new ones were laid out in 
accordance with the dawning taste, but no estab- 
lishment was thought perfect without a spot set 
apart as a “jardin anglais.” 

The most distinguished landscape gardener of 
comparatively recent date was the late Sir Hum- 
phrey Repton, who died in 1818, and later, John 
Claudius Loudon, better known in this country 
as a celebrated author. Loudon’s writings and re- 
ports on gardening are well-known the world 
over, and his published works have influenced 
more or less the art of gardening in this country. 

As the modern style of landscape gardening 
owes its origin mainly to the English, so it has been 
developed and carried to the greatest perfection 
in the British Islands. The law of primogeniture, 


II 


Plate 
XVI 


Plate 
XVII 


Plate 
XVIT 


Plate 
XVIII 


LANDSCAPE ART 


which has there so long existed, in itself contrib- 
utes greatly to the continued improvement and 
embellishment of these vast landed estates that re- 
main perpetually in the hands of the same family. 
Magnificent buildings, added to by each succeed- 
ing generation; wide-spread parks, clothed with 
a thick velvet turf, which in their moist atmos- 
phere preserves during a greater part of the year 
an emerald greenness, studded with noble oaks 
and other forest trees which number centuries of 
growth and maturity; these advantages, in the 
hands of the most intelligent and the wealthiest 
aristocracy in the world, have indeed made almost 
an entire landscape garden of merry England. 
In the United States it is highly improbable 
that we shall ever witness such splendid examples 
of landscape gardening as those abroad. In this 
country the rights of man are held to be equal, 
and if we have few large private estates, and no 
class of men whose wealth is hereditary, we have 
on the other hand a large class of independent 
land owners, who are able to surround themselves 
not only with the useful and convenient, but the 
agreeable and beautiful in country life. 


12 


PAST AND PRESENT 


Before the introduction of railroads the num- 
ber of country residences of men actively engaged 
in business in the city was confined to so small a 
portion of the population that no general interest 
was taken in the arrangement of grounds, and the 
demand for educated landscape designers was too 
limited to warrant the adoption of this profession 
as a means of support. With the increase of rail- 
roads there has grown up a large suburban popu- 
lation with almost no conception of the prin- 
ciples governing the arrangement of grounds, or 
the development of existing beautiful natural 
features. The radius of the territory available for 
country homes has extended rapidly, and the de- 
mand has proved how readily the popular mind 
responds to the opportunity to get nearer to Na- 
ture and her enjoyments. In America, a feeling, 
a taste, an improvement is so contagious that it 
is disseminated with a celerity that is indeed won- 
derful to every other portion of the world. 

To attempt the smallest work in any art with- 
out knowledge either of the capacities of that art, 
or the schools, or the modes by which it has previ- 


ously been characterized, is but to grope about in 


BS 


Plates 
XIX 


to 


XXIT 


Plate 
XXIII 


LANDSCAPE ART 


a dim twilight, without the power of knowing, 
even should we be successful in our efforts, the 
real excellence of our production. 

The beauties elicited by the ancient style of 
gardening were those of regularity, symmetry, 
and the display of labored art. The geometrical 
form and lines of the buildings were only ex- 
tended and carried out in the garden. In the best 
classical models the art of the sculptor conferred 
dignity on the garden by the fine forms of marble 
vases and statues; in the more intricate and la- 
bored specimens of the Dutch school the results 
evince a fertility of odd conceits, rather than the 
exercise of taste or imagination. 

Of late, professors of modern landscape gar- 
dening have generally agreed upon two species of 
beauty of which the art is capable. These are the 
beautiful and the picturesque; or, to speak more 
definitely, the beauty characterized by simple and 
flowing forms, and that produced by striking, ir- 
regular, spirited forms. The admirer of nature 
will at once call to mind examples of scenery 
distinctly expressive of each of these kinds of 


beauty. The name of Claude Lorraine cannot fail 


14 


PAST AND PRESENT 


to suggest examples of beauty in its purest and 
most graceful forms. On the other hand we find 
all the elements of the picturesque graphically 
combined in the vigorous landscapes of Salvator 
Rosa. Thus we see in the pictures of these two 
artists not exact models for imitation in landscape 
gardening, but only striking examples of expres- 
sion in natural scenery. In nature many land- 
scapes partake in a certain degree of both kinds 
of scenery, but the artist should be able to seize 
at once upon the leading characteristics of these 
two species of beauty in all scenery. 

By landscape gardening we understand not 
only an imitation of the general forms of beauty, 
but an expressive, harmonious, and refined imita- 
tion. “The recognition of Art,’ as Loudon ob- 
served, “is a first principle in landscape garden- 
ing,’ and those have erred who supposed that the 
object of this art is merely to produce a facsimile 
of nature which could not be distinguished from a 
wild scene. There are always circumstances which 
must exert a controlling influence in choosing 
between the beautiful and the picturesque. There 


are fixed locality, individual preference and style 


cf 


Plate 
XXIV 


Plate 
XXV 


Plate 
XXVI 


LANDSCAPE ART 


of building, and many other reasons which may 
afford an abundance of indications for either taste. 
If we choose a bit of scenery naturally flowing 
and beautiful in its outline, we heighten that im- 
pression by the refinement of care and culture. 
If we fall upon a picturesque locality we may add 
to its charms by the removal of everything in- 
harmonious or out of keeping, and conduct all 
our improvements with an eye to picturesque 
impression. 

Besides the beauty of form and expression, we 
have to deal with the three principles: unity, 
variety, and harmony. Violations of the principle 
of unity are often to be met with, and they indi- 
cate an absence of a correct taste in art. Looking 
upon a landscape we sometimes see a considerable 
part of the view laid out in natural forms of trees 
and shrubs, and perhaps in the middle of it a 
formal avenue leading directly to the house. In 
this example the avenue taken by itself may be a 
beautiful picture, and yet, if taken with the nat- 
ural groups of trees and shrubs, the picture will 
not form a whole because it does not make a 
composite idea. In the arrangement of a large 


16 


PAST AND PRESENT 


extent of surface, where a great many forms are 
necessarily presented to the eye at once, the prin- 
ciple of unity will suggest that there should be 
some grand or dominating feature to which the 
others should be subordinate. Thus, in grouping 
trees there should be some grand and striking 
mass to which the others appear to belong, how- 
ever distant, instead of all being the same size. 

After unity we must carefully consider the sub- 
ject of variety as a fertile source of beauty in 
landscape gardening. The different scenes should 
present sufficient variety in the detail to keep 
alive the interest of the spectator. Harmony is the 
principle presiding over unity and variety, and 
prevents them from becoming discordant. It pre- 
supposes contrasts, but never so strong OF so fre- 
quent as to produce discord. 

Two or three trees and a few shrubs, with a 
bit of lawn, may make either an exquisite little 
picture or a disordered array of forms. If unity, 
variety, and harmony rule the composition, we 
shall obtain the same pleasures from it that we 
do from looking upon a beautiful picture. Aye, 


more than this, for the living picture reveals new 


ay 


Plates 
XXII, 
XXVIII 


Plates 
XXIX 
to 
XXXII 


Plates 


XXXITI 
to 


XXXV 


Plate 
XXXVI 


Plates 
AXXVIT 
to 
ALT 


Plate 
XLII 


LANDSCAPE ART 
beauties day by day with the changing shadows 


and seasons, but if these three principles be ab- 
sent from the picture, we shall find beauty only 
in this or that detail. 

There are many persons with small country 
houses who have neither space nor time to at- 
tempt the improvement of their grounds, either 
in the direction of picturesqueness or of flowing, 
graceful forms. How shall they make their places 
tasteful and agreeable in the easiest manner? By 
attempting only the simple and natural. One un- 
failing way to secure this is by the use of trees and 
grass. A soft velvet lawn, a few groups of orna- 
mental trees well placed, always give pleasure. 
They contain in themselves, in fact, the elements 
of all the agreeable sensations awakened by splen- 
did landscapes, and they are the most enduring 
sources of enjoyment in any place. 

There are no country seats in the United States 
so unsatisfactory and lacking in taste as those in 
which, without any definite aim, everything is at- 
tempted. They cost their owners enormous sums 
of money without giving the least feeling of unity 
or continuity, or a shadow of the beauty which 


18 


PAST AND PRESENT 


the mind feels at the first glimpse of a neat cot- 
tage residence, with its simple sylvan character of 
well kept lawn and trees. 

Landscape gardening is not solely a decorative 
art. This idea of it is illustrated time and again by 
people who first build a house and then apply to 
a landscape architect, or attempt themselves to 
finish it off. The house has probably been placed 
in a position where it will subject the owner to all 
sorts of inconveniences, while if it had been placed 
elsewhere, he might have secured advantages now 
impossible to obtain. He has expended large sums 
in grubbing or burning up all that he considers 
underbrush, and has thus destroyed the natural 
beauty of the woods, which now consist only of a 
collection of gaunt, naked looking trees; and now 
he applies to the landscape gardener to make the 
place look attractive by the introduction of arti- 
ficial decorations. In other words, the place is to 
be dressed up to look pretty. The proportion of 
those who study to arrange their grounds from 
the outset, fixing the position of the buildings, 
and adapting the roads and walks so as to secure 


the utmost convenience with the best possible 


19 


LANDSCAPE ART 


development of graceful and picturesque effect, is 
insignificant when compared with those who, after 
fixing these features beyond recall, then, and only 
then, confer with the landscape architect. Thus 
inexperienced persons deceive themselves with the 
idea that no art is required in the arrangement of 
the grounds for the domestic use of the family res- 
idence beyond the exercise of intuitive skill and 
ingenuity, and nearly everyone imagines, until he 
has tried, that he can do it to suit himself much 
better than another can do it for him. Many a 
one finds in the end that he pays dearly for his 
error. Study and experience will tell for much in 
making the most of natural advantages. Present 
convenience and future needs may occur to the 
mind trained in these lines which would never oc- 
cur to the novice. The solving of such practical 
questions should be an essential duty of the land- 
scape artist. Their consideration enables him to 
preserve a unity of design throughout, and to give 
grace and beauty to the whole picture by the har- 
monious planning of its parts. 

The chief point to remember, and that to 
which I wish to call especial attention, is this: — 


20 


PAST AND PRESENT 


that the primary work is what really gives charac- 
ter to the place. 

_ The question of a convenient and graceful en- 
trance drive by which the house may be reached 
from the road, and easy access to the stable, 
must, of course, be taken into consideration in de- 
termining the relative position of buildings, as 
well as the subdivision of the land into useful 
and ornamental departments, such as gardens, or- 
chards, lawn, woods, etc. Last, but not least, must 
come the careful study of trees and shrub plan- 
tations. It has been a common practice, apparently 
with intention, to break up every possible stretch 
of lawn and vista by paths and roads; and no coun- 
try house has been supposed to be complete until 
the road from the main entrance has encircled the 
entire house. Roads should be regarded purely as 
a convenient means of access to buildings. They 
are not ornamental things in themselves, and are 
more or less blemishes upon the landscape. Every 
effort should be put forth to make them as incon- 
spicuous as possible. This can be secured by study- 
ing the curves and grades of the natural surfaces, 
by a careful arrangement of trees and shrubs, and 


2-1 


Plate 
XLII 


Plates 
XLIV, 
XLV 


LANDSCAPE ART 


by using a material for the roadbed which will be 
as unobtrusive as possible in color. 

In most cases it is better to have the main 
entrance to the house on the side away from the 
lawn. In this way privacy is secured for the family, 
which is thus shut off from the coming and going 
of carriages and people, and the quiet and repose 
of the family life is not broken in upon. The so- 
called service yard is a matter for important con- 
sideration. It should lead as directly as possible to 
the kitchen yards and stable; and the turning 
place, where the wagons would from necessity 
stop to unload supplies, should be well screened 
from view by trees and shrubs. Only such walks 
as are absolutely necessary should be provided. 

Several varieties of vines, harmonizing one with 
another, will produce more beautiful effects upon 
a country house than a single kind only. The 
hardy vine, when once planted, should not be left 
to grow inits own wilful way; once accepted, it 
should be made a work of art, and its garment of 
verdure should be adapted to the form it covers, 
as are the garments of a gracefully draped figure. — 
In other words, the vines should always look 


22 


PAST AND PRESENT 


orderly and well attended, nor should they ever 
be allowed to cover the walls entirely. There is 
nothing which will so effectually soften the rigid 
outlines of a building and make a “happy union,” 
as Mrs. Van Rensselaer so delightfully puts it, be- 
tween the house and the grounds as a liberal yet 
judicious use of vines. But architectural character 
should be kept distinct and not lost; the effect of 
upper stories apparently based on a substructure 
of fluttering leaves is most unfortunate. Vines 
enough should be grown to beautify the walls and 
unite them well with the ground, and yet space 
reserved below, as well as above, where the con- 
structed surface shall appear — spaces which will 
indicate the general character of the walls, show 
where the ground ends and they begin, and assure 
the eye of their stability. 

Vines alone should not be depended upon to 
unite the house and grounds. Hardy shrubs should 
form the encircling garment, which should be 
high in some places, low in others, here dense 
and massive, there light and graceful, now cling- 
ing closely to the walls, and now spreading away a 


little, sometimes running along beyond the ends 


253 


Plates 
XLT. 
XLVII 


Plate 
XLVI 


LANDSCAPE ART 


of the house to accent these points, while always 
uniting the building as a whole ith ists 
they may be massed at the angles and intersec- 
tions of roads. Nevertheless, an over-abundance 
of shrubs should be avoided. 

For some time it has been the custom in this 
country to plant flower beds, or strips filled with 
annuals and tender ornamental plants, along the 
foundations of suburban houses. The work is 
done and the effect is produced for the season 
only. When winter comes, nakedness returns in a 
worse shape than if no flowers had been planted. 
Flower beds in themselves are but formal things, 
and yet we see them in the midst of grounds 
which have been laid out according to the nat- 
uralistic plan. No place could be worse for a mass 
of brilliant color than the center of a stretch of 
bright green, shaven turf, for it destroys all unity, 
repose, and breadth. There are too many country 
places in America where the lawns are marred by 
frequent lines of color, set here or there with little 
thought of the general impression upon the eye— 
as if a blind man had been playing gardener. 
Owners of fine places often delight in these showy 


24 


PAST AND PRESENT 


bits of color, and gardeners love them because they 
show how skillfully they cultivate and trim their 
plants. There are places for every flower bed, but 
every one should be in its own place, that is, in the 
region set apart for it in the formal garden or ter- 
race, where we can delight in it for its own sake, 
and where it looks as if it belonged to the place. 

There are places in which colored foliage or 
flowers can be used with good effect, on the edge 
of shrubberies, for instance, just as a bit of bright 
color serves to particularize an attractive feature 
in a room or ina picture; but in general the quiet 
peacefulness of the lawn, with its ever varying 


tints of green and the graceful outlines of trees, 


should néver be disturbed by gorgeous and strik- 


ing combinations of color. Just as an Irishman in a 
scrimmage goes on the rule of «“ Wherever you see 
a head, hit it,’ so do some gardeners, whenever 


they see a nice smooth piece of turf, feel that there 


is an aching void and yearn for another bed of, 


cannas or geraniums to fill it. 
It has been said that the lawn is the heart of 
the true English garden, and what is true of Eng- 


land in this respect should be true of America 


ae 


Plate 
OL OULLE 


Plate 
XLIX 


Plates 
phew io 


LANDSCAPE ART 


also. Study to get the widest expanse of lawns, 
framed in with trees and shrubs in keeping with 
the general landscape. Native plants are an essen- 
tial foundation, and exotics should be chosen 
with rare discretion. 

The landscape gardener must take into con- 
sideration all the impressive and natural elements 
of the locality in order to maintain distinctive 
landscape character. He must make a harmonious 
combination with the dominant characteristics 
which nature has already stamped upon the site, 
softening what is hard, clothing what is bare, fill- 
ing out what is meager, and enriching what is 
beautiful or in harmony with the original type. 
He should avoid all novel conceits, all conspicu- 
ous eccentricities and incongruous intrusions. 
Striking examples of the disregard of these prin- 
ciples may be seen in our parks in mispropor- 
tioned bridges, utilitarian buildings of ugly shape 
and glaring red brick, rolls of carpet and Persian 
rugs, arm-chairs and gates. Often purely horticul- 
tural varieties of trees and shrubs, with strangely 
unnatural forms and species of flowers, are used, 
not to aid in producing a beautiful piece of 


26 


BASE AN D PRESENT 


natural scenery, but simply because of their in- 
dividual interest or eccentricity, or for their strik- 


ingly artificial effect in masses. It is a common 


practice to value decorative work in planting in - 


proportion to the degree in which it is obviously 
artificial, new, or peculiar. Clumps of foreign 
trees and shrubs, or beds of flowers and foliage 
plants, are located in conspicuous places without 
fitting relation to the natural conditions of the 
landscape. An intimate acquaintance with the 
varied characteristics of planting material is most 
important, for in the study of natural landscape 
it may be observed that trees, shrubs, and plants 
bear relation to each other. 

The partly open feature of a landscape is most 
essential if we would have beautiful grounds, for 
it affords an opportunity for vistas at various 
points, for admitting cool breezes and sunshine, 
for the effects of light and shadow, and, most 
important of all, for that degree of breadth and 
general repose without which no landscape can 
be altogether satisfactory. Itis obvious that, as a 
rule, the masses in all small areas must be planted 


along the outlying portions of the lawn, keeping 
27 


Plate 
eid 


Plate 
LUI 


LANDSCAPE ART 


the center free, but showing open vistas skirted 
by margins of woody growth, which tend to give 
an impression of greater size to the grounds so 
treated. 

The park idea is only about forty years old in 
the United States. Except Boston Common, little 
squares, like those laid out in Philadelphia by 
William Penn, were the only parks known in 
America until A. J. Downing of New York, from 
whose writings I have freely quoted, began in 
1850 to write on the subject of parks. He sug- 
gested the idea of Central Park, and in 1853 an 
act was passed setting aside its site. It is some- 
times argued that legislation should not give value 
to property, but, in fact, judicious legislation does 
properly create value, benefiting both public and 
private interests. Central Park has thus become a 
creator of values. The increase in real estate val- 
ues due to the influence of parks, boulevards, and 
other improvements tends to lessen the general 
tax of a city instead of increasing it. The rapid 
growth of American cities in the last fifty years is 
a new development in the history of mankind. In | 
the United States in 1850 the proportion of the 

28 


PAST AND PRESENT 


population in cities was 12.5 in each one hun- 
dred; in 1880 it had increased to 22.5 in7veach 
one hundred; and in 1890 it had advanced to 
29.74—an increase of about forty per cent in the 
ten years since 1880." 

Mr. Frederick Law Olmsted has made a com- 
parison of the relative open spaces in and around 
Boston as controlled by the Metropolitan Park 
Commission, and the open spaces of London and 
Paris owned and controlled by the government or 
municipality, showing that the latter have more 
than double the territory of the former in propor- 
tion to the population. | 

The rapid construction of tall buildings and 
the massing of humanity in cities have forced 
thinking men to consider the question of open 
spaces for breathing, in the shape of parks, wheel- 
ways, promenades, boulevards, and, last but not 
least, playgrounds for children. It is well known 
that nothing is so expensive to a city as disease. 
City life is essentially artificial. Its greatest allevia- 
tors are parks and parkways, and one part of the 
higher education of the city is to teach the people 


*In 1920 the proportion had increased to 51.4 in each one hundred. 


29 


Plate 
LI 


Plates 
LIV 
to 
LVI 


LANDSCAPE ART 


how to enjoy nature, how to get into the fresh 
air, into the parks, under the trees, onto the grass, 
down on their knees in worship of Nature’s God. 
There are many great-hearted men of wealth who 
might have their names carried down with the ages 
if they would only give or purchase land for park 
purposes for the people of the cities in which they 
have made their fortunes. Nothing is so undying 
as the name of a man associated with a large pub- 
_ lic park near a great city. It is borne down from 
generation to generation, linking the donor’s 
name with the park which he makes the heritage 
of the people for all coming time. How admir- 
ably Shakespeare brought out this idea in that 
masterly oration which he put in the mouth of 
Antony over the dead body of Cesar. Imagine 
yourself standing in the Roman forum; imagine 
that wonderful power of oratory which Antony 
possessed, and recall, if you may, that moment 
when he says to the Romans: — 


«But here’s a parchment with the seal of Cesar; 
I found it in his closet, ’tis his will: 
Let but the commons hear this testament— 


he hath left you all his walks, 
30 


PAST AND PRESENT 


His private arbours, and new-planted orchards, 
On this side Tiber; he hath left them you, 
And to your heirs forever, common pleasures, 
To walk abroad, and recreate yourselves. 


Here was a Cesar! When comes such another?” 


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Plate XIX 


apr ae 
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a 


XX PIPId 


erlopacnyor Y yy P°YS — 


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Plate XXI 


fccluvesyite Ad fe vodiced. bye brthe NG; VEY Mar 
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Plate XXII 


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XXIV 


Plate 


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Moots — II Vddew 


? . 2 2 Y - 
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YZ ¢ Z 
ME heigh ton et t wife VOISOW ly lhe Z VO HOI endl. fare EO 
C oC 


Plate XXV 


TheAbiff — 1895 Vie dled 


TheMbilf’ — 1922 7 Wilden 
Yewe poll MfLOVEM frtclit veaywe tocatilyweadd lorl 


char BRLY A Kesatdccs MOTO OY OU? nfo VOUCTIVE?F 2 OD world OIL DO Sa Mo 


ft cluresgwe OSV CISOOV , 


Plate XXVI 


‘ : 
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CD Cagrantor 


COMMUVE, 


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Fe, 


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OFF MIE 


de 


Plale XXVII 


x 
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et eA, 
x Pe a“ 


4 er 


ee eS ie x 
= diet Nie « 


vo 


welt Weldon 


Yi : 
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: Z 


Ce 


Plate XXVIII 


XIXX 922Id 


CA 


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Uppy, ryyrougroy Y proof ra y / 3 


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0 


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Plate XXX 


Ga 2 the KAUVORNE Vellore 


or oly Zo Mream 4» MECED, CUFt dLunderqroullr 
iz 


Plate XXXI 


ete Be Fol: 


5 


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Plate XXXII 


th edsoulhristia iy] Vis bale Wn 


4 & . . . * - . 
Seth ope Mhefrineiple presiding overunly and warily 
é C C c 


Plate XXXII 


4 
=) 


‘=o ek a ig 


hw avoodland voad fromthe bridge Neldlon 


A fo : : 
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Plate XXXIV 


* A 
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AXXX PIV 1d 


. ; petoe Gp POMP ONY Of VI YUP baap as" to 
AMPVOMN t* OF APAAM VPA CPV IAL (OP CPEOU 2 PACA 6, Ay UPUMAU RI & ? 
2 ree Malian ho geil 


LY JPLTVYS Nippon, 24 


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GIO Wh x2 iagar ee BE OG) Oe 


— 


EEE 


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Cc fis. ° e . . 
¢ the living piclure POUCOANID PECL A ewcteas oer C7 iat tala 
Z C U, 
Po OE a OPV ALOADVI LD | 


Plate XXXVII 


Widder 


~ anid. afte BIOO8F? 


Bee Aire outlook 


XXXVI 


Plate 


<7 


fy 


Velden 


CE VFOOUNN —-AKt apr 


Lh 


Plate XXXIX 


Pa ao 
ee, 


r¢ 


ae woavine o wn Antwner Uedden 


Plate XL 


TTX Pd 


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Asaf el al dace We few trees cooll fp laced wire lier godt 


CMO sources ifen oye. 
a aa 
Plate XLII 


NVIX °'P ld 


2 () 
MOYOMI vopuia hanes j DP OPULROY OAM PIMA npromle GOUE te CYC) 
: is é op gill ; 


/ ad ef 4 v/s PPUDAUW , isin 


wr ¢ BE 
Bee 


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Ghoewowine driv Wahdew 


Plate XLIV 


we —-ISIO 


pofporoach Jolhe: oy. 


AE 


COULD. possible: 


nleadened 


a7 


tient ag bouddbe, 


4 


&, 


Plate XLV 


von Eee 


DhehouseppomMhecastlawn 1896 Walden 


ThehousefeomMhecastdaun AGA Weldon 


Siiodhaldkr sah one forrrlhe onciveling garment, 
onabingw haf puyunionbelween house andl ground = 


Plate XLVI 


4 
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of? VO VAANASNG of A CL emnantly WT ea te ad forced ithe CP? ee 


nen be: Vipantedier, die quedenre: of) Vi cobb OP CH SfPaces. 


Plate LI 


ATT ?1P]g 


AT ?Id 


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L209 1 Uf Apenciy fai pesaies Aa, £ OS aiaais ey oe 2X) 


co ued 


TWELVE HUNDRED COPIES 
OF THIS BOOK HAVE BEEN PRINTED AT 
THE SCRIBNER PRESS 
FROM TYPE WHICH HAS BEEN DISTRIBUTED. 


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